DOCSLIB.ORG

Vatican Palace Bibliography Mostly in English Joseph Connors 2017 10 26

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Vatican Palace Bibliography mostly in English Joseph Connors 2017 10 26 Vatican Palace James Ackerman, The Cortile del Belvedere (Studi e Documenti per la Storia del Palazzo Apostolico Vaticano, 3), Città del Vaticano, 1954 Innocenzo Venchi, Renate Colella, Arnold Nesselrath, Carlo Giantomassi and Donatella Zari, Fra Angelico and the Chapel of Nicholas V, Vatican City, 1999 John Shearman, The Vatican Stanze: Functions and Decorations (British Academy Italian Lecture), London, 1971 John Shearman, “The Apartments of Julius II and Leo X,” in Guido Cornini, et al., Raphael in the Apartments of Julius II and Leo X, Milan, 1993, pp. 1-36 Functions and Decorations, Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance, ed. Tristan Weddigen, Sible de Blaauw, Bram Kempers, Città del Vaticano and Turnhout, 2003 Diane Cole Ahl, Fra Angelico, London, 2008, ch. 6: “Famous Beyond All Other Italian Painters: Angelico in Rome and Orvieto,” pp. 159-94 Christine Smith and Joseph O’Connor, Building the Kingdom: Giannozzo Manetti on the Material and Spiritual Edifice, Turnhout, 2006 Rona Goffen, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, New Haven and London, 2002 Tristan Weddigen, Sible de Blaauw and Bram Kempers, eds., Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance (Capellae Apostolicae Sixtinaeque Collectanea Acta Monumenta, 9; Collectanea V), Città del Vaticano and Turnhout, 2003 Carlo Pietrangeli, The Vatican Museums: Five Centuries of History, Rome, 1993 (Italian edition 1983) Tom Henry, Cesare da Sesto and Baldino Baldini in the Vatican Apartments of Julius II,” Burlington Magazine, 142, 2000, pp. 29-35 M. Giulia Aurigemma, “Torre Pia in Vaticano. Architettura, decorazione, committenza, trasformazioni di tre cappelle vasariane,” in Römisches Jahrbuch der Bibliotheca Hertziana, 39, 2009/10, pp. 65-163 Sistine Chapel General Ernst Steinmann, Die sixtinische Kapelle, 2 vols., Munich, 1901-1905. Vol. I (1901): Bau und Schmuck der Kapelle unter Sixtus IV. Vol. II (1905): Michelangelo Richard Sherr, “The Singers of the papal Chapel and Liturgical Ceremonies in the Early Sixteenth Century: Some Documentary Evidence,” in Rome in the Renaissance: The City and the Myth, ed. Paul Ramsey, Binghamton, 1982, pp. 249-64 Sistine Chapel Sixtus IV Frescoes L.D. Ettlinger, The Sistine Chapel Before Michelangelo: Religious Imagery and Papal Primacy, Oxford, 1965 Peter Howard, “Painters and the Visual Art of Preaching: The Exemplum of the Fifteenth Century Frescoes in the Sistine Chapel,” in I Tatti Studies in the Italian Renaissance, 13, 2010, pp. 33-77 Sistine Chapel Michelangelo Ceiling Sven Sandström, “The Sistine Chapel Ceiling,” in Levels of Reality: Studies in Structure and Construction in Italian Mural Painting During the Renaissance, Stockholm, 1963, pp. 173-91 John O’Malley, “The Theology Behind the Sistine Ceiling,” in The Sistine Chapel: Michelangelo Rediscovered, London, 1986, 92-148, 268. Leo Steinberg, “Eve’s Idle Hand,” in Art Journal 35 (1975-6): 130-35. Leo Steinberg, “Who’s Who in Michelangelo’s ‘Creation of Adam’: A Chronology of the Picture’s Reluctant Self-Revelation,” in Art Bulletin 74 (1992): 552-66 Marcia Hall and Leo Steinberg, “Who’s Who in Michelangelo’s Creation of Adam,” Art Bulletin, 75, 1993, pp. 340-344 Carol Lewine, The Sistine Chapel Walls and the Roman Liturgy, University Park PA, 1993 John Shearman, “The Functions of Michelangelo’s Color,” in The Sistine Ceiling: A Glorious Restoration, New York, 1994, 80-109 Edgar Wind, The Religious Symbolism of Michelangelo. The Sistine Ceiling, ed. Elizabeth Sears, Oxford, 2000 John O’Malley, “The Religious and Theological Culture of Michelangelo’s Rome, 1508-1512,” in Edgar Wind, The Religious Symbolism of Michelangelo. The Sistine Ceiling, ed. Elizabeth Sears, Oxford, 2000, pp. xli-lii Edgar Wind, The Religious Symbolism of Michelangelo: The Sistine Ceiling, Oxford, 2000. Chapter V, "The Ark of Noah," 48-57; Chapter X “Michelangelo’s Prophets and Sibyls” 124- 48 Ross King, Michelangelo and the Pope’s Ceiling, New York, 2003 Franco/Maria Ricci, Arnold Nesselrath et al., Vaticano La Cappella Sistina. Il Quattrocento, Milan, 2003 Heinrich Pfeiffer, S.J., The Sistine Chapel: A New Vision, trans. Steven Lindberg, New York and London, 2007 La Capilla Sixtina, Florence, 2011 Norman Land, “A concise History of the Tale of Michelangelo and Biagio da Cesena,” in Source, 32.4, Summer 2013, pp. 15-19 Paul Barolsky, “The Genius of Michelangelo’s Creation of Adam and the Blindness of Art History,” in Source: Notes in the History of Art, 33.1, Fall 2013, pp. 21-24 Bruce Sutherland, “Cameo Appearances on the Sistine Ceiling,” in Source: Notes in the History of Art, 33.2, Winter 2013, pp. 12-18 Sistine Chapel: Leo X and the Raphael Tapestries John Shearman, Raphael’s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel, London, 1972 Thomas Campbell, “The Acts of the Apostles Tapestries and Raphael’s Cartoons,” in Tapestry in the Renaissance: Art and Magnificence (exhib. cat.), New York, 2013, pp. 187- 203 Lisa Pon, “Raphael’s Acts of the Apostles Tapestries for Leo X: Sight, Sound, and Space in the Sistine Chapel,” in Art Bulletin, 97, 2015, pp. 388-40 Portraits of Julius II and Leo X Loren Partridge and Randolph Starn, A Renaissance Likeness: Art and Culture in Raphael’s Julius II, Berkeley and Los Angeles, 1980 Nelson Minnich, “Raphael’s Portrait Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi: A Religious Interpretation,” in Renaissance Quarterly, 56.4, 2003, pp. 1005-1052 Sistine Chapel Last Judgment Marcia Hall, “Michelangelo’s Last Judgment: Resurrection of the Body and Predestination,” in Art Bulletin 58 (1976): 85-92 Leo Steinberg, “Who’s Who in Michelangelo’s Creation of Adam: A Chronology of the Picture’s Reluctant Self-Revelation,” Art Bulletin, 74, 1992, pp. 552-66 Marcia Hall, Michelangelo’s Last Judgment, Cambridge, 2005 Leo Steinberg, “Michelangelo’s Last Judgment as Merciful Heresy,” in Art in America 63 (1975): 49-65. Leo Steinberg, “A Corner of the Last Judgment,” in Daedalus 109 (1980): 207-73. Bernardine Barnes, “The Last Judgment and the Critics,” in Michelangelo’s Last Judgment: The Renaissance Response, Berkeley, 1998, 71-101 Stanza della Segnatura Heinrich Wölfflin, “IV: Raphael: The Camera della Segnatura,” in Classic Art: An Introduction to the Italian Renaissance (London, 1994), pp. 87-100 Ernst Gombrich, “Raphael’s Stanza della Segnatura and the Nature of its Symbolism,” in Symbolic Images (London: Phaidon, 1972), pp. 95-101. David Rosand, “ ‘Divinità di cosa dipinta’: Pictorial Structure and the Legibility of the Altarpiece,” in Peter Humfrey and Martin Kemp, eds., The Altarpiece in the Renaissance, Cambridge, 1990, pp. 143-64 Jonathan Unglaub, “Bernardo Accolti, Raphael’s Parnassus and a New Portrait by Andrea Del Sarto,” Burlington Magazine, 149, 2007, pp. 14-22 Arnold Nesselrath, “Lorenzo Lotto in the Stanza della Segnatura,” in Burlington Magazine, 142, 2000, pp. 4-12 Ingrid Rowland, Ingrid, “The Intellectual Background of the School of Athens: Tracking Divine Wisdom in the Rome of Julius II,” in Marcia Hall, ed., Raphael’s School of Athens (Cambridge: Cambridge University Press, 1997), 131-70. Glen Most, “Reading Raphael: The School of Athens and its Pre-Text,” Critical Inquiry, 23, 1996, pp. 145-82 Daniel/Orth Bell, “New Identifications in Raphael’s School of Athens,” in Art Bulletin, 77, 1995, pp. 638-46 David Rosand, “Raphael’s School of Athens and the Artist of the Modern Manner,” in Stella Flechter and Christina Shaw, eds., The World of Savonarola: Italian Elites and the Perception of Crisis (Aldershot: Ashgate, 2000), 212-32. Christian Kleinbub, “The Philosophical Eye: Iconographies of the Visual in the School of Athens,” in Vision and the Visionary in Raphael, University Park PA, 2011, pp. 46-69. Stanza di Eliodoro John Shearman, “The Expulsion of Heliodorus,” in Christoph Frommel and Matthias Winner, eds., Raffaello a Roma: Il convegno di 1983 (Rome: Elefante, 1986), 75-87 Michael Schwartz, “Raphael’s Authorship in the Expulsion of Heliodorus,” Art Bulletin, 79, 1997, pp, 466-92 Arnold Nesselrath, “Lotto as Raphael’s Collaborator in the Stanza di Eliodoro,” in Burlington Magazine, 146, 2004, pp. 732-741 (1997): 466-92. Stanza dell’Incendio Kurt Badt, “Raphael’s ‘Incendio del Borgo,’” in Journal of the Warburg and Courtauld Institutes 22 (1969): 35-59 Patricia Reilly, “Raphael’s Fire in the Borgo and the Italian Pictorial Vernacular,” Art Bulletin XCII (2010): 308-25. Sala di Costantino Philipp Fehl, “Raphael as a Historian: Poetry and Historical Accuracy in the Sala di Costantino,” in Artibus et Historiae, 14, 1993, pp. 9-76 Jan de Jong, The Power and the Glorification: Papal Pretensions and the Art of Propaganda in the Fifteenth and Sixteenth Centuries, University Park PA, 2013, pp. 70-90 Raphael “Bible” Loggia Nicole Dacos, The Loggia of Raphael: A Vatican Art Treasure, New York and London, 2008 Sala Regia Jan de Jong, The Power and the Glorification: Papal Pretensions and the Art of Propaganda in the Fifteenth and Sixteenth Centuries, University Park PA, 2013, pp. 118-61 Vatican Statue Collections, Maps, and Museums Matthias Winner, Bernard Andreae and Carlo Pietrangeli, eds., Il Cortile delle Statue. Der Statuenhof des Belvedere im Vatikan (1992), Mainz, 1998 Nicola Courtright, The Tower of the Winds in the Vatican Palace: Gregory XIII and the Art of Reform, Cambridge, 1997 Robert Meadows-Rogers, “The Vatican Logge and their Culminating Decorations under Pius V and Gregory XIII: Decorative Innovation and Urban Planning before Sixtus V,” Ph.D. diss., University of North Carolina at Chapel Hill, 1996 Deborah Brown, “The Apollo Belvedere and the Garden of Giuliano della Rovere at SS. Apostoli,” in Journal of the Warburg and Courtauld Institutes, 49, 1986, pp. 235-238 Francis Haskell and Nicholas Penny, Taste and the Antique, New Haven and London, 1981, pp.
Recommended publications
  • Virtual Museum Scavenger Hunt

    Virtual Museum Scavenger Hunt

    Virtual Museum Scavenger Hunt Musee d’Orsay, Paris, France The French Art of the Musee d’Orsay Welcome to the Musee d’Orsay Scavenger Hunt! This museum is located in Paris, France. In its past life, it was a railway station until 1939. During World War II, the French used it as a mailing station. Today, it holds French art from 1848 to 1914. The French wanted to create a museum that had pieces that other museums did not have room for. Quick Fun Facts about the museum! This museum has the largest 35,000 Square Meters of the It is one of the largest art collection of impressionist building is made of glass museums in Europe. masterpieces It took 6 months to place all of It has more metal than the Eiffel It was the first museum in the paintings and art into the Tower France to have a photography museum exhibition Start by going to this link: https://artsandculture.google.com/partner/musee-dorsay-paris?hl=en Part One: 1. You will need to select Canvas. Find the painting titled “Self Portrait”. a. Can you tell me when the piece was painted? b. Can you tell me who painted it? 2. Return to the home page through the link above. Then select Modern Art. Find the painting called “Magpie”. a. What season is portrayed in the painting? b. Who painted it? 3. Return to the homepage through the link above. Then select France. Search for the painting called “The circle of the Rue Royale”. a. Can you count how many people are in the painting? 4.
  • Contratto Di Quartiere “Borgo Pio”

    Contratto Di Quartiere “Borgo Pio”

    Venezia, 10-20 novembre 2004 Catalogo della Mostra Comune di Roma Contratto di quartiere “Borgo pio” Il recupero del Passetto e del suo Borgo Il piano-progetto per il recupero urbano dell’intera area di Borgo1 è il risultato di una ricerca sul tema “Analisi di fattibilità del recupero di un monumento: il Passetto di Borgo a Roma” 2. Il programma di riqualificazione generale prodotto dalla ricerca si estende all’intera area del Piano di zona che interessa la civitas Pia e, oltre il Passetto, via della Conciliazione e Borgo Santo Spirito. La proposta generale 1. Ass. Roberto Morassut, direttore Di- partimento VI: dott.sa Virginia Proverbio. ha recepito le esigenze generate dal diffuso degrado del costruito e dalla scarsa vivibilità degli spazi in questa Direttore U.O. n. 6: arch. Gennaro Farina, responsabile del procedimento: arch. “isola” del centro storico ed è avvalorata da un piano di fattibilità sia funzionale che economica. Elide Vagnozzi. Progetto preliminare arch. A. Della Valle, arch D. Fondi, arch. M. Un’area campione, l’isola 19 di Borgo Pio, è stata oggetto di approfondimento con la elaborazione del progetto Alexis, Studio tecnico associato D’Andrea - Manchia, prof. P. Palazzi (cons.). preliminare per un intervento sperimentale di edilizia sovvenzionata inserito nell’ambito del programma di recupero urbano denominato Contratto di quartiere II3. 2. La Ricerca interfacoltà di Ateneo “La Sapienza” è stata svolta negli anni 1994/ Questo progetto, promosso dalle realtà di base operanti nel quartiere, si inserisce in una prima fase di 97. Responsabile della ricerca: prof. P. Palazzi del Dipartimento di Scienze attuazione del Piano di recupero adottato nel 1985 che investe l’area a nord del Passetto.
  • THE "VIA FRANCIGENA" and the ITALIAN ROUTES to SANTIAGO by Paolo CAUCCI VON SAUCKEN (Italy) 1988

    THE "VIA FRANCIGENA" and the ITALIAN ROUTES to SANTIAGO by Paolo CAUCCI VON SAUCKEN (Italy) 1988

    THE "VIA FRANCIGENA" AND THE ITALIAN ROUTES TO SANTIAGO by Paolo CAUCCI VON SAUCKEN (Italy) 1988 http://it.wikipedia.org/wiki/Paolo_Caucci_von_Saucken#Studi_ispanici The relationship between Italy and Santiago de Compostela dates back avery long way. Suffice it to point out that four of the 22 miracles described in Book II of the "Liber Sancti Jacobi" expressly concern Italian pilgrims. This shows that there was an interest in Santiago in the first half of the 12th century, and that specific links existed. Moreover, the frequent contacts between the Bishopric in Santiago de Compostela and Rome, many of which existed as a result of the pilgrims that went to one or other, are recorded in "Historia Compostellana", which also bears witness to the existence of Italian brotherhoods of former pilgrims as far back as 1120. It records that, on the occasion of a trip he made to Rome, to obtain the rank of Archbishopric for the bishopric in Santiago de Compostela, Bishop Porto was accompanied and supported by, " ceteri quam plures Ecclesiae beati jacobi confratres, qui Beatum jacobum-olim adierant, et seipsos ipsi apostoli subjugaverant. Propterea ecclesiam Beati jacobi usquequaque diligebant et eius Episcopum." Further proof of the strong links between Italy and Santiago, in the time of Gelmirez is provided by the fact that the sole relic of the apostle from Santiago cathedral was sent, after lengthy, voluminous correspondence, to Italy, there it prompted the establishment of a major centre of worship of St. James in Pistoia. Furthermore, as research into Italian involvement in pilgrimage to Santiago de Compostela progresses, new information testifying to the existence of increasingly complex, intricate relations is constantly emerging.
  • 21T1BL – Topps Tier One Bundesliga– Checklist Autograph Cards: TIER ONE AUTOGRAPHS TO-SB Sebastiaan Bornauw 1. FC Köln TO

    21T1BL – Topps Tier One Bundesliga– Checklist Autograph Cards: TIER ONE AUTOGRAPHS TO-SB Sebastiaan Bornauw 1. FC Köln TO

    21T1BL – Topps Tier One Bundesliga– Checklist Autograph cards: TIER ONE AUTOGRAPHS TO-SB Sebastiaan Bornauw 1. FC Köln TO-MT Marcus Thuram Borussia Mönchengladbach TO-JK Joshua Kimmich FC Bayern München TO-SS Suat Serdar FC Schalke 04 TO-KP Krzysztof Piątek Hertha Berlin TO-CN Christopher Nkunku RB Leipzig TO-MH Martin Hinteregger Eintracht Frankfurt BREAK OUT AUTOGRAPHS BO-IJ Ismail Jakobs 1. FC Köln BO-NK Noah Katterbach 1. FC Köln BO-JS Jeremiah St. Juste 1. FSV Mainz 05 BO-P Paulinho Bayer 04 Leverkusen BO-FW Florian Wirtz Bayer 04 Leverkusen BO-ET Edmond Tapsoba Bayer 04 Leverkusen BO-GR Giovanni Reyna Borussia Dortmund BO-EN Evan N'Dicka Eintracht Frankfurt BO-DS Djibril Sow Eintracht Frankfurt BO-FU Felix Uduokhai FC Augsburg BO-RO Reece Oxford FC Augsburg BO-AD Alphonso Davies FC Bayern München BO-PS Pascal Stenzel VfB Stuttgart BO-OM Orel Mangala VfB Stuttgart BO-MK Marc Oliver Kempf VfB Stuttgart BO-MG Mattéo Guendouzi Hertha Berlin BO-JT Jordan Torunarigha Hertha Berlin BO-NST Niklas Stark Hertha Berlin BO-JK Justin Kluivert RB Leipzig BO-DU Dayot Upamecano RB Leipzig BO-KL Konrad Laimer RB Leipzig BO-KS Keven Schlotterbeck Sport-Club Freiburg BO-CK Chang-hoon Kwon Sport-Club Freiburg BO-NS Nils Seufert DSC Arminia Bielefeld BO-SO Stefan Ortega Moreno DSC Arminia Bielefeld BO-MF Marco Friedl SV Werder Bremen BO-ME Maximilian Eggestein SV Werder Bremen BO-DG Dennis Geiger TSG Hoffenheim BO-DSA Diadie Samassékou TSG Hoffenheim BO-RK Robin Knoche 1. FC Union Berlin BO-NSC Nico Schlotterbeck 1.
  • Antonio Paolucci. Il Laico Che Custodisce I Tesori Del Papa

    Antonio Paolucci. Il Laico Che Custodisce I Tesori Del Papa

    Trimestrale Data 06-2015 NUOVA ANTOLOGIA Pagina 178/82 Foglio 1 / 3 Italiani ANTONIO PAOLUCCI IL LAICO CHE CUSTODISCE I TESORI DEL PAPA Non e cambiato. All’imbrunire di una bella giornata d’inverno l’ho intravisto vicino al Pantheon. Si soffermava, osservava, scrutava gente e monumenti, come per anni gli avevo visto fare a Firenze, tra Palazzo Vecchio e Santa Croce. Si muoveva in modo dinoccolato, ma estremamente elegante e con autorevolezza. A Firenze il popolino e i bottegai lo salutavano con rispetto e con calore. A Roma, una frotta di turisti cinesi, senza sapere chi sia, gli fa spazio per farlo passare e il tono delle voci si abbassa. Ha un tratto e uno stile che lo distingue dagli altri, che lo fa notare. Dopo aver vissuto per anni a Firenze, Antonio Paolucci ora abita a Roma, ma ci sta da fi orentino. Cioè pronto a tornare sulle rive dell’Arno il venerdì sera e a riprendere il «Frecciarossa» il lunedì mattina. Dal 2007 lavora per l’ultimo monarca assoluto al mondo, che lo ha chiamato a curare una delle più importanti collezioni d’arte esistenti. La Bolla pontifi cia, fi rmata da Benedetto XVI, lo ha nominato, infatti, direttore dei Musei Vaticani. Paolucci considera questo incarico un «riconoscimento alla carriera». Un percorso lungo e glorioso per chi continua a defi nirsi un «tecnico della tutela». Classe 1939, nato a Rimini, nel 1969, dopo aver studiato a Firenze e Bologna, vince il concorso come ispettore delle Belle Arti. Inizia alla Soprintendenza di Firenze, poi nel 1980 diviene soprintendente di Venezia, quindi di Verona e di Mantova.
  • 75. Sistine Chapel Ceiling and Altar Wall Frescoes Vatican City, Italy

    75. Sistine Chapel Ceiling and Altar Wall Frescoes Vatican City, Italy

    75. Sistine Chapel ceiling and altar wall frescoes Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1510 C.E Altar frescoes: c. 1536-1541 C.E., Fresco (4 images) Video on Khan Academy Cornerstone of High Renaissance art Named for Pope Sixtus IV, commissioned by Pope Julius II Purpose: papal conclaves an many important services The Last Judgment, ceiling: Book of Genesis scenes Other art by Botticelli, others and tapestries by Raphael allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure, and have provided an enormously influential pattern book of models for other artists ever since. Coincided with the rebuilding of St. Peters Basilica – potent symbol of papal power Original ceiling was much like the Arena Chapel – blue with stars The pope insisted that Michelangelo (primarily a sculpture) take on the commission Michelangelo negotiated to ‘do what he liked’ (debateable) 343 figures, 4 years to complete inspired by the reading of scriptures – not established traditions of sacred art designed his own scaffolding myth: painted while lying on his back. Truth: he painted standing up method: fresco . had to be restarted because of a problem with mold o a new formula created by one of his assistants resisted mold and created a new Italian building tradition o new plaster laid down every day – edges called giornate o confident – he drew directly onto the plaster or from a ‘grid’ o he drew on all the “finest workshop methods and best innovations” his assistant/biographer: the ceiling is "unfinished", that its unveiling occurred before it could be reworked with gold leaf and vivid blue lapis lazuli as was customary with frescoes and in order to better link the ceiling with the walls below it which were highlighted with a great deal of gold’ symbolism: Christian ideals, Renaissance humanism, classical literature, and philosophies of Plato, etc.
  • Janson. History of Art. Chapter 16: The

    Janson. History of Art. Chapter 16: The

    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
  • Market Values in Eighteenth-Century Rome

    Market Values in Eighteenth-Century Rome

    Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands.
  • Annual Report 2017

    Annual Report 2017

    COMECE annual report 2017 www.comece.eu www.comece.eu https://www.facebook.com/comece.eu 19, Square de Meeûs, B-1050 Brussels https://twitter.com/comeceeu Tel. +32 (2) 235 05 10 https://www.instagram.com/bishopscomece/ COMECE Fax +32 (2) 230 33 34 COMMISSION OF THE BISHOPS’ CONFERENCES Mail: [email protected] https://www.linkedin.com/company/1241463 OF THE EUROPEAN UNION FINANCES Total expenditure: 1.076.317€ The Secretariat of COMECE and its activities are financed exclusively by the contributions of the Member Bishops’ Conferences. The Secretariat of COMECE is registered in the EU Transparency register, Migration under the identification number 47350036909-69 14 & Asylum Ethics, health & research 17 Justice & Fundamental rights / 6% Ecology & External Action / 5% 20 Sustainability Social & Economic Policies / 6% Legal afairs Health, Research & Bioethics / 1% 22 & Fundamental rights Migration & Asylum / 7% Intercultural Communication / 8% 25 Dialogue & Education Meetings and conferences / 14% Social & 27 Economic Policies Rents, reception, travel costs, other salaries / 52% 30 External Action 33 Freedom of Religion FOREWORD Dear Readers, On 25 March 2017, the heads of state and government of the 27 member states of the European Union came together in Rome to remember the 60th anniversary of the signing of the Treaty of Rome. The highlight of this meeting was an audience with Pope Francis on the previous evening in the Vatican’s Sala Regia. After the Pope’s speech, in which he spoke above all of the hope that can once again inspire the European Union and Europe, the doors were opened for the ofcial photo, in which the heads of state and government stood, with the Pope in the middle, in front of the fresco of the Last Judgement by Michelangelo in the Sistine Chapel.
  • Download PDF Datastream

    Download PDF Datastream

    DOORWAYS TO THE DEMONIC AND DIVINE: VISIONS OF SANTA FRANCESCA ROMANA AND THE FRESCOES OF TOR DE’SPECCHI BY SUZANNE M. SCANLAN B.A., STONEHILL COLLEGE, 2002 M.A., BROWN UNIVERSITY, 2006 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY, 2010 © Copyright 2010 by Suzanne M. Scanlan ii This dissertation by Suzanne M. Scanlan is accepted in its present form by the Department of History of Art and Architecture as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date_____________ ______________________________________ Evelyn Lincoln, Advisor Recommended to the Graduate Council Date______________ ______________________________________ Sheila Bonde, Reader Date______________ ______________________________________ Caroline Castiglione, Reader Approved by the Graduate Council Date______________ _____________________________________ Sheila Bonde, Dean of the Graduate School iii VITA Suzanne Scanlan was born in 1961 in Boston, Massachusetts and moved to North Kingstown, Rhode Island in 1999. She attended Stonehill College, in North Easton, Massachusetts, where she received her B.A. in humanities, magna cum laude, in 2002. Suzanne entered the graduate program in the Department of History of Art and Architecture at Brown University in 2004, studying under Professor Evelyn Lincoln. She received her M.A. in art history in 2006. The title of her masters’ thesis was Images of Salvation and Reform in Poccetti’s Innocenti Fresco. In the spring of 2006, Suzanne received the Kermit Champa Memorial Fund pre- dissertation research grant in art history at Brown. This grant, along with a research assistantship in Italian studies with Professor Caroline Castiglione, enabled Suzanne to travel to Italy to begin work on her thesis.
  • Pope Francis Questions the Economy

    Pope Francis Questions the Economy

    Pope Francis Questions the Economy Cardinal Peter K.A. Turkson 13 September 2016 On behalf of the Pontifical Council for Justice and Peace, thank you for this initiative and invitation to raise questions, in the spirit of Pope Francis, about the economy. In his 6 May address on receiving the Charlemagne Prize, the Holy Father called three times “for moving from a liquid economy to a social economy… [This] would involve passing from an economy directed at revenue, profiting from speculation and lending at interest, to a social economy that invests in persons by creating jobs and providing training.”1 In the light of Catholic social teaching, then, I would like to consider the contrast between: i) The problem of the liquid economy; and ii) The solution of a social economy. And then I could sketch iii) Three challenges facing any economy which wants to serve not itself but those who live in our common home After this brief opening address, the other distinguished speakers will raise the question, “What is the social market economy today, and what is its impact on Europe and globally?” 1. The problem: the liquid economy When Pope Francis talks about a liquid economy, he calls it “an economy directed at revenue, profiting from speculation and lending at interest”. He means one in which 1 Pope Francis, Address on the Conferral of the Charlemagne Prize, Sala Regia, 6 May 2016. http://w2.vatican.va/content/francesco/en/speeches/2016/may/documents/papa- francesco_20160506_premio-carlo-magno.html 1 financial flows are deemed paramount, in which technical efficiency and productivity trump human dignity and the ability of all to live flourishing lives.
  • Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B

    Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B. Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE ALBERTO ARINGHIERI AND THE CHAPEL OF SAINT JOHN THE BAPTIST: PATRONAGE, POLITICS, AND THE CULT OF RELICS IN RENAISSANCE SIENA By TIMOTHY BRYAN SMITH A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 Copyright © 2002 Timothy Bryan Smith All Rights Reserved The members of the Committee approve the dissertation of Timothy Bryan Smith defended on November 1 2002. Jack Freiberg Professor Directing Dissertation Mark Pietralunga Outside Committee Member Nancy de Grummond Committee Member Robert Neuman Committee Member Approved: Paula Gerson, Chair, Department of Art History Sally McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the abovenamed committee members. ACKNOWLEDGEMENTS First I must thank the faculty and staff of the Department of Art History, Florida State University, for unfailing support from my first day in the doctoral program. In particular, two departmental chairs, Patricia Rose and Paula Gerson, always came to my aid when needed and helped facilitate the completion of the degree. I am especially indebted to those who have served on the dissertation committee: Nancy de Grummond, Robert Neuman, and Mark Pietralunga.